By Mark T. Conard, Aeon J. Skoble, William Irwin
2010 Retail ebook
This unconventional and lighthearted advent to the tips of the key Western philosophers examines The Simpsons — TV’s favourite lively kinfolk. The authors glance past the jokes, the crudeness, the assaults on society — and spot a shrewdpermanent show of irony, social feedback, and philosophical suggestion. The writers start with an exam of the characters. Does Homer really show Aristotle’s virtues of personality? In what means does Bart exemplify American pragmatism? The booklet additionally examines the ethics and issues of the express, and concludes with discussions of ways the sequence displays the paintings of Aristotle, Marx, Camus, Sartre, and different thinkers.
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Additional resources for The Simpsons and Philosophy: The D'oh! of Homer (Popular Culture and Philosophy)
38 Curiously, the shelter was also promoted through a lens of the spiritual, claimed by Dr. ”39 Being underground then might serve the population, allowing America to reflect upon its spiritual well-being, bringing forward an echo of monastic life, where seclusion, silence, and a set of meagre rations lend to hours of soul-searching. Yet the acoustic of this underground situation cannot go unmarked by the absolute threat of annihilation that hovered in the form of the Bomb. Might the underground be heard additionally as a condition of anticipation?
It brings together by enabling separate journeys; it structures individual desire and yet in doing so it remains strangely impersonal, resistant to intervention. ) Yet performances do take place that might harness or generate subjective tracings, sudden interactions, making more concrete the minimum of qualities Augé notes as defining community. These performative instances come to supplement the rather isolated movements of the journey, suddenly crossing the lines separating bodies, bringing smiles or grimaces to the faces of passengers, or requiring more outspoken responses in the form of yelling or scolding.
Underground heterotopia imparts forceful matter into the economy of the social. Like the zombies in Dawn of Dead, that rise up from the grave to haunt the American suburb, the subterranean offers the aboveground the challenge of always having to negotiate its own hidden dreams or desires in moments of uprising, fantasy, or struggle, which shift the relation between form and 32 z Acoustic Territories formlessness, temporarily unmarking any strict notion of above from below, inside from outside. These oscillations are further glimpsed in understanding the underground as a significant location for forms of resistance—itself the very mark of existing outside or below the established system.